ABSTRACT
The process of mutual learning, of constant modification in consciousness, the relation between filmmaker, filmed subject, and film viewer becomes so tightly interdependent that the reading of the film can never be reduced to the filmmaker's intentions. With this comes today's much debated questioning of art as a vehicle for self-expression and of originality as an attribute of the artist's individuality. The author's experience in life is complex, plural, and full of uncertainties. And this complexity can never be reduced and fitted into the rigid corners of ready-made solutions and filmic conventions. Miseen- scene as the montage and recreation of the texture of life and of the inner dynamics of the subject filmed would have to incorporate the heterogeneity of living experience. Working with that new in-between-the-naming space, and reconceiving time in film are precisely the areas that a number of women filmmakers have been exploring for sometime now.
